Carrie Brownstein Quotes

I think it's always good for the author to stay a good cattle prod's distance from the actual moviemaking.

All the films I do, I write the scripts, I direct.

The filmmaking process is a team effort. A screenwriter cannot possibly do exactly what he wants as if he was writing a novel.

It's madness to hand in a script to a director, leave them alone, and for the director not to want the writer there with rehearsals and the shoot.

I want to make my own films from my own scripts based on stories I want to tell, but they take time to put together.

I had written a script called 'Freed,' which I had wanted to direct.

'Hardware' came about because I had written quite a few scripts and hadn't had any luck getting them made.

Since I began making movies, I've always looked for screenwriters instead of going through the long and painful process of writing.

I take time to write my script, if I have more scripts, I will make more movies.

I can't imagine directing from someone else's script.

I can't do a film if I don't start with the writing.

I have stories that I'd like to maybe one day consider directing, but you need a lot of time to write and put it together.

The only way you can learn about making films is by making them, by putting your stamp on the thing.

What has always been at the heart of film making was the value of a script. It was really the writer who could make or break a film. But as we all know, the writer has always been at the bottom of the creative heap.

The truth is, when I started to make films, I was terrified. I had a huge difference in what I was writing in the screenplay and what was on the screen after. Sometimes there was a big gap. Now, the more I have experienced, the more I do movies, the more I feel that the dream is closer to the screen. It's coming with experience.

I think I've had pretty good experiences for the most part with the people who have directed my screenplays.

I co-wrote and produced 'Sticky Fingers' with Catlin Adams, who directed it. I learned a lot writing and producing with Cat. I spent as much time as I could in the cutting room with her. All the producing experience that I had helped.

Since signing with Universal, I have been working closely with Gary Ross, the director, producer and screenwriter. We have spent many hours on the phone, and I've been sending him information and items that have been useful to the writing process.

I try to do as much as I can, every facet of filmmaking.

When I'm writing a movie, it's usually pretty close to what the movie is going to be, which is just a luxury of being a writer-director.

You get spoiled as a novelist because you get to be the director and the editor, and you play all the parts, but as a screenwriter, you are a bit down the ladder.

I have always thought if you are going to make a film, it's much better to have an original script that will play to film's strengths.

I always claim that the writer has done 90 percent of the director's work.

I originally went to school to be a filmmaker. And so it's a big part of how I think and how I write. And it inspires me a lot.

Capra always wanted a screenwriter with him, even on the soundstage. The writer had to be there at his side.